Cole's art digs into the subconscious to decipher causality and shed light on the psychological mechanisms that drive personality. Subject matter is drawn from mental disorder archetypes, concepts of energy healing and the influence of the divine.
Of Swedish descent, early childhood was spent in isolation. Adolescence saw honing of line and painting skills in leading art schools. Classical training was interrupted for a number of years as Cole traveled extensively, tunneling through society in search of inspiration. Postings in dozens of countries seeded colorful and symbolic inspiration later portrayed in the art.
In the aftermath of a business career, a sea change occurred while studying in a school for psychics. Cole fused dormant art skills with the wealth of stimuli garnered over years of travelling to illustrate the work done in the school’s environment. The focus became the depiction of individuals healing from borderline personality disorders.
Pieces address psychological, emotional or spiritual ailments either being confronted, succumbed to or triumphed over. While decorative and highly rendered, the pieces are designed to instigate a healing response. A depiction of a character trait, such as masochism, might suggest a positive outcome or illustrate pitfalls. As a road map to healing, the art is a catalyst for change. When viewed repetitively, the observer is triggered emotionally and a healing response initiates over time. Pieces are tailored to individuals and viewers will relate in dissimilar fashions.
Early work showcased evil. The Lower Self, or more negative self, was portrayed as the vanquisher, venerated for its power of destruction. Figures prone to its demise were tortured and helpless. The art was gloomy or outright shocking.
However, Cole extolled not the merit of the negative self but the ability of the individual to face his fears. Deep change only occurs when taking responsibility for unflattering traits. Frank Illustration of such traits is a liberating act. As such, healing begins with facing one's shadowy self and on the outset feels uncomfortable. Though later work moves towards triumph, this lack of comfort is a signature element that still permeates all of Cole’s work, a splinter in the viewer's eye inducing self reflection.
Other archetypes are illustrated such as the Mask, the Higher Self or the Shadow. The drama played out by these actors on the canvas of the self are favored subject matter. Just as people are the playthings of their underlying emotions and thoughts, so the figures in Cole’s art are manipulated by energies unseen. With exposure the viewer deciphers hidden messages within the art and within himself.
Incessant attention to detail and heavily worked surfaces allude to the difficulties encountered while healing. Early work was executed with graphite and charcoal, later changing into chalk pastels. Color is more prevalent in Cole's later work as he explores the emotional field. Black and white was apt at showing the conflict of duality, the light and dark, the right and wrong. Color gives added nuance to an otherwise binary reality, heralds understanding that choices are not black and white and that a judgment prone approach to change is unnecessary.
Fueled by the ego, resistance is often encountered when healing. Convincing the ego of the artwork's viability is the initial goal of the rendering technique. Detail and precision bond the viewer through the suspension of disbelief. Drawn in by minutia, the viewer foregoes defenses to readily absorb the material. Once the eye accepts then subsequent layers of the self can allow themselves to see the story behind the drawing. The more real the experience looks, the more real it is going to feel.
Of Swedish descent, early childhood was spent in isolation. Adolescence saw honing of line and painting skills in leading art schools. Classical training was interrupted for a number of years as Cole traveled extensively, tunneling through society in search of inspiration. Postings in dozens of countries seeded colorful and symbolic inspiration later portrayed in the art.
In the aftermath of a business career, a sea change occurred while studying in a school for psychics. Cole fused dormant art skills with the wealth of stimuli garnered over years of travelling to illustrate the work done in the school’s environment. The focus became the depiction of individuals healing from borderline personality disorders.
Pieces address psychological, emotional or spiritual ailments either being confronted, succumbed to or triumphed over. While decorative and highly rendered, the pieces are designed to instigate a healing response. A depiction of a character trait, such as masochism, might suggest a positive outcome or illustrate pitfalls. As a road map to healing, the art is a catalyst for change. When viewed repetitively, the observer is triggered emotionally and a healing response initiates over time. Pieces are tailored to individuals and viewers will relate in dissimilar fashions.
Early work showcased evil. The Lower Self, or more negative self, was portrayed as the vanquisher, venerated for its power of destruction. Figures prone to its demise were tortured and helpless. The art was gloomy or outright shocking.
However, Cole extolled not the merit of the negative self but the ability of the individual to face his fears. Deep change only occurs when taking responsibility for unflattering traits. Frank Illustration of such traits is a liberating act. As such, healing begins with facing one's shadowy self and on the outset feels uncomfortable. Though later work moves towards triumph, this lack of comfort is a signature element that still permeates all of Cole’s work, a splinter in the viewer's eye inducing self reflection.
Other archetypes are illustrated such as the Mask, the Higher Self or the Shadow. The drama played out by these actors on the canvas of the self are favored subject matter. Just as people are the playthings of their underlying emotions and thoughts, so the figures in Cole’s art are manipulated by energies unseen. With exposure the viewer deciphers hidden messages within the art and within himself.
Incessant attention to detail and heavily worked surfaces allude to the difficulties encountered while healing. Early work was executed with graphite and charcoal, later changing into chalk pastels. Color is more prevalent in Cole's later work as he explores the emotional field. Black and white was apt at showing the conflict of duality, the light and dark, the right and wrong. Color gives added nuance to an otherwise binary reality, heralds understanding that choices are not black and white and that a judgment prone approach to change is unnecessary.
Fueled by the ego, resistance is often encountered when healing. Convincing the ego of the artwork's viability is the initial goal of the rendering technique. Detail and precision bond the viewer through the suspension of disbelief. Drawn in by minutia, the viewer foregoes defenses to readily absorb the material. Once the eye accepts then subsequent layers of the self can allow themselves to see the story behind the drawing. The more real the experience looks, the more real it is going to feel.
